monsters and madmen

THE FLICKS: The appeal surrounding “atom age” films of the ‘50s is difficult to explain. Loaded with ridiculous special effects, hammy “C”-list actors, and copious amounts of stock footage, quite often the sensationalistic advertising used on the poster was the best thing about the film. It’s obvious these movies weren’t meant to be studied (although they have been...extensively), they’re movies to be enjoyed with the same sense of Saturday matinee fun in which they were made. But I don’t think anyone would have expected them to attract the attention of the folks at Criterion, who’ve added The Atomic Submarine and First Man into Space, along with two superior Boris Karloff films, as part of the Criterion Collection 4-disc box set Monsters and Madmen. The original advertising for The Atomic Submarine seriously downplayed the sci-fi plot element, but there’s no mistaking the one-eyed alien from outer space taking shots at America’s submarine fleet. The U.S.S. Tiger Shark is sent in to defeat the mysterious menace and winds up colliding with the alien ship, forcing crew members to board her and go face-to-face (or eye-to-eye, as the case may be) with a many-tentacled creature bent on Earth’s colonization. The plot of The Atomic Submarine never quite operates “full-ahead,” all too often becoming mired in the sort of scientific pontification the genre is infamous for. There are a few allusions to Greek tragedies and left-wing political debate, but that’s not what people pay to see (unless they’re regular supporters of PBS). The slimy space Cyclops gets far too little screen time, even by bargain-basement standards; making for a slow and ponderous undersea voyage. First Man into Space spreads it out a little better, unleashing its mutated test pilot in measured doses as he sucks the juices out of whatever Earth creature gets in its way. As the titular first man to reach orbit, Lt. Dan Prescott returns with a crusty coating and thirst for blood that casts him into the sympathetic monster role as his brother attempts to find a cure. Indestructible thanks to his new skin, Prescott stumbles upon one victim after another to satiate his lust for bodily fluids. Briskly paced and full of prickly performances, director Robert Day’s film is a perfectly adequate “monster-on-the-loose” picture. And although the big finale (which takes place in a cramped atmosphere chamber) is somewhat of a disappointment, the mystery and make-up of the starring creature is engaging from start to finish. But the real treasures of the set are the two Karloff films, both period pieces that showed the actor could still give it his all when the role was worthy of his attention. Corridors of Blood is a bit of a horror/bio-pic, with Karloff playing Dr. Thomas Bolton, a renowned surgeon whose quick cutting earned high praise during the pre-anesthetic era. But Bolton insists that surgery without pain is possible and stages several experiments with various gasses in an attempt to render his patients unconscious. However, the good doctor becomes addicted to his own inhalations and soon is unwittingly assisting nefarious underworld types (including Christopher Lee) as a means to support his habit. Even minus standard horror ingredients Corridors of Blood is a sensationally fearsome story. All the players bring their “A-game,” particularly Karloff who rarely got to play straight drama at this point in his career. Director Robert Day seems particularly inspired by the period setting, creating a lively Victorian atmosphere that’s equal to anything produced by Hammer studios. Although the title might suggest something much more lurid, the film is a well-rounded tale of selfless drive and tragic self-destruction. The Haunted Strangler is every bit the previous films equal, although the surprise twist (of which I wouldn’t dare give away) requires a healthy suspension of disbelief. Karloff plays James Rankin, a novelist intent on uncovering the truth behind the “Haymarket Strangler,” a series of murders for which he believes the wrong man was hanged 20 years ago. During the course of his investigations, Rankin tracks the whereabouts of a surgeon’s knife that passes onto him a curse, turning him into the reincarnation of the notorious murderer. The first half of Robert Day’s film is a fairly standard murder mystery, but he has a huge trick up his sleeve. Once the twist reveals itself, the film careens to a gruesome conclusion with a great degree of skill and energy. Karloff chews quite a lot of scenery (as well as his lower lip, in a make-up job reminiscent of the great Lon Chaney) but seems to be invigorated by the whirlwind plot. There’s a good bit of padding (if you like dancing girls, you’re in luck) and a standard engagement subplot to contend with, but overall The Haunted Strangler is a first class find from the Criterion Collection. THE FEATURES: